In the early 1980s, when Diana Vreeland sought to represent the best of contemporary haute couture in the galleries of The Costume Institute, she selected Yves Saint Laurent as the focus of her groundbreaking exhibition on the work of a living designer. As a master of the traditions of haute couture, Saint Laurent simply had no equal. For many women of elegance, including Mrs. Kempner, the Saint Laurent style for a time surpassed all others as a source of unwaveringly elegant and technically refined clothes for day and night. In a period of more than 40 years, Mrs. Kempner acquired almost 600 examples of this master's work. Although she clearly had an affinity for Saint Laurent's man-tailored designs, especially "Le Smoking"—his version of a tuxedo for women—and his pantsuits, she was equally seduced by his sensuous evening dresses. Saint Laurent's mastery of drapery is evident in Mrs. Kempner's choices, whether in chiffon, satin, or silk crepe. Her gowns also represent the designer's famously sensitive yet audacious use of color. The Saint Laurent palette has been compared to the vivid hues of a Matisse painting or the set designs for a Diaghilev ballet, but they are, on closer study, distinctly the designer's own.

Although Mrs. Kempner's collection reveals a strong loyalty to Yves Saint Laurent, Valentino, and Oscar de la Renta, in the 1960s and 1970s she was enthralled by the work of Madame Grès. In the October 10, 1979, edition of The New York Times she noted, "I have Grès dresses going back twenty years. I use them like a library." Mrs. Kempner's number of Grès pieces, small relative to her other favored designers, nonetheless comprise a survey of Mme. Grès's best efforts. Pleated silk jerseys such as these two examples document the most iconic styles, but alpaca jersey examples and an innovative silk crepe model on view in the exhibition represent lesser known modes.

Unlike Saint Laurent, who flirted with androgynous and subtly transgressive effects, Valentino prefers an elegance that is consistently inflected by an alluring prettiness. A designer whose work is notable for its advocacy of the unambiguously feminine, Valentino addresses Mrs. Kempner's requirements for comfort and glamour with this pleated evening gown in the designer's signature color, the brilliant Valentino red. Executed in silk chiffon, this gown is an example of the Valentino atelier's unsurpassed skill in working with a fragile and particularly difficult fabric. The gown sheathes the body while the fullness of the skirt suggests an airiness and freedom of movement. Mrs. Kempner met Valentino when he was an assistant to Jean Dessès, a designer noted for his virtuosity with draped effects. To this day, his rigorous early apprenticeship with Dessès informs Valentino's work.

PARIS, FRANCE: Former top model Carla Bruni presents a creation for French designer Yves Saint Laurent, 22 January 2002, during the retrospective part of Saint Laurent's last ever show at the Centre Georges Pompidou art gallery in Paris. Hours before unveiling his last ever collection, innovative designer Yves Saint Laurent said his love affair with women was not over and hinted he had other cards up his sleeve. AFP PHOTO PIERRE VERDY

i love that x dress..how simple, strong & chic it is?
& the green and olive silk georgette with the blue cap the color compination is amazing ...thanks Tylw you brought back the beautieful memories of the old good days.

I've tried in vain to find a famous William Wegman pix of a weimaraner in YSL stilettos. Does anyone know what I am talking about? If so, please post. It's in Wegman's _Fashion Photographs_, and it's one of my favorite YSL photos!:p

Taz, I am always struck by how many people characterize YSL as "conservative," mistaking his elegance for a stodgy adherence to tradition. I imagine many people would consider the "X" dress boring, but it provocates without vulgarity. I cannot believe that Tom Ford is now, in common parlance, associated with the YSL heritage. Boo!

I've tried in vain to find a famous William Wegman pix of a weimaraner in YSL stilettos. Does anyone know what I am talking about? If so, please post. It's in Wegman's _Fashion Photographs_, and it's one of my favorite YSL photos!:p

Taz, I am always struck by how many people characterize YSL as "conservative," mistaking his elegance for a stodgy adherence to tradition. I imagine many people would consider the "X" dress boring, but it provocates without vulgarity. I cannot believe that Tom Ford is now, in common parlance, associated with the YSL heritage. Boo!

I read recently that when Tom Ford took over Gucci, that his first two lines were completely inspired by designs of YSL from the 70s. The black and white pant suits, and the exposed chest etc. And that eventually he ran the gamut of YSL's designs, reinterpreted and modernized for Gucci.

Now that Ive read that, I can totally see it.

However, while Tom Ford was at YSL, I think he kind of flopped a little.

__________________

It's said,
The map of the world is on you
The moon gravitates around you

tom very much distorted the YSL legacy, but i can understand what he was doing (or what i think he was doing at least). there was also a darkly romantic side to ysl's work. during his time, yves himself was a bit controversial and shocking as well. of course, as time has gone on, we've been defamiliarized by this. tom ford brought the shock factor back, in a sense, but he could have done a lot better.

I understand what you are saying, but I still see a great difference between YSL and Ford. I always felt that YSL's clothing respected women, even in their sexual power, but never in a dehumanizing way. He preferred looser silhouettes, mystery, ambiguity—I think all these concepts are lost to Ford. To be darkly romantic is not the same as vulgar. Ford's clothing always seemed like one-liners. I was slightly disappointed to learn that Carine Roitfeld had styled that first Gucci collection. It's sad when a woman thinks about her fellow females in such sexually simplistic terms.

I so wished that Alber Elbaz had been allowed to stay at YSL—I would have liked to see how he developed the YSL heritage. The stuff he is doing at Lanvin is OK, but there was a real bizarre (in a nice way) quality to the stuff he was designing at Rive Gauche.

That said, I am relatively young, so I would love to hear more about YSL's impact as it happened during the 60's and 70's! I think ms-nietzsche is right! The provocation of a YSL smoking suit, or pants in general on a woman—these are not things we can fully appreciate today!

Quote:

Originally Posted by ms-nietzsche

tom very much distorted the YSL legacy, but i can understand what he was doing (or what i think he was doing at least). there was also a darkly romantic side to ysl's work. during his time, yves himself was a bit controversial and shocking as well. of course, as time has gone on, we've been defamiliarized by this. tom ford brought the shock factor back, in a sense, but he could have done a lot better.